1,720,966 research outputs found
The Republic of Rock. Music and Citizenship in the Sixties Counterculture. Michael J. Kramer
No full textNel suo libro The Republic of Rock Michael J. Kramer definisce come Repubblica del Rock il circuito transnazionale dove la musica rock ebbe un ruolo cruciale per la formazione della controcultura hippie negli anni Sessanta
The Language of Hip Hop: A Racial Bridge? African American English (AAE) as Interracial Communication
Get PDFThis study questions whether rap - the musical voice of Hip Hop culture - is a form of interracial communication. What makes rap music sound so peculiar is the use of African American English (AAE). Reportedly, in the book Roc the Mic Right: The Language of Hip Hop Culture (2006), linguistic anthropologist H. Samy Alim describes the linguistic practices of US Hip Hop as both deriving from and expanding from African American English. In light of this, rap can be examined not just as a musical but also as a speech genre. Even though typically African American, as a language and cultural form rap has enjoyed such a great mainstream success that also non-Black ethnicities have started to seek access to this practice. According to Toni Mitchell, Hip Hop and rap should not be viewed simply as an expression of African American culture. In fact, they have become vehicles for global youth affiliations and tools for reworking identities all over the world (2001, 1-2). During the 1990s Whites were drawn to Hip Hop culture and language and to the rhetorical power of rap music. Exactly starting from this time-period, White rappers began adopting a wide range of AAE structural patterns in their lyrics. The language practice of White rappers who want to affiliate with Hip Hop culture is a phenomenon that has not received a great deal of attention. It is precisely this lacuna of scholarly dialogue that this research tries to fill. For White rappers to use AAE and engage in a Black genre is not only a totally unexpected linguistic behavior, but also a worth-researching paradox. This is especially true if we consider two aspects: first, that AAE in mainstream White U.S. society is stigmatized as an inferior and ungrammatical variety; second, because White people and institutions traditionally figure prominently as objects of disdain and anger in politically-oriented Hip Hop music from the 1990s (see Public Enemy, NWA, KRS-One, Ice-T and others). Therefore, the aim is to shed light on the underestimated potential of such a linguistic behavior, which might provide insightful considerations on rap as a cultural and linguistic practice where racial divides are reimagined
Hip-Hop culture invasion: a dialogue between America and Italy
No full textThe analysis of both hip-hop’s influence in Italy and of some Italian hip-hop singles will be carried out in order to investigate how Italian MCs reinterpret American hip-hop music and the way they transform it into a language of their own.
The process of appropriation of hip-hop by Italian artists will be examined both from a linguistic point of view (I am referring to the linguistic contamination evident in the lyrics, where English words are to be found scattered throughout the text, but also to the choice of using Italian dialects), and from a social and political point of view. As a matter of fact, some Italian MCs adopt and use hip-hop as a means of social and political protest, in much the same way their American counterpart does
Retrieving the voice of the ancestors: folktale narration in Hurston’s Mules and Men.
No full textThe purpose of this study is to analyze four tales from Mules and Men by Zora Neale Hurston, whose narratives suggest a subtle criticism of white supremacy, without directly subverting the master-slave relationship. Moreover, this essay argues that some aspects of Hegel's master-slave dialectic are echoed in the folktales, and highlights some modes of master-slave relationship featured in the stories.
Even if we do not know whether Hurston ever read Hegel, what I attempt to suggest here is that there is a recurring theme referred to by both authors with reference to the master
-slave relationship
Sounding Race in Rap Songs by Loren Kajikawa - Recensione di Camilla Fascina
No full textOn the 30th of June 2015, Michael Render, a.k.a. “Killer Mike,” was invited to talk at “The Tavis Smiley Show,” discussing a number of topics ranging from Nina Simone’s legacy and race relations in America to the public’s acceptance of rap.
Killer Mike, apart from being a prolific rapper, is also an influential activist and his music is meant not only for entertainment, but also as a tool of protest. During the interview at “The Tavis Smiley Show,” after sharing his thoughts on the cost of forgiveness as a follow-up consideration after the Charleston Shooting, Killer Mike stated “You can't argue that hip-hop rots away the moral character of kids or rots their brain and still see middle class white kids going to college who are listening to hip-hop.”
It is, to some extent, this same spirit that drives Loren Kajikawa to write Sounding Race in Rap Songs, an insightful contribution to the discussion about rap as a corrosive influence and a cause of violence
Lines of Descent, W.E.B. Du Bois and the Emergence of Identity by Kwame Anthony Appiah
No full text“Two souls, alas, are dwelling in my breast, and one desires to break off from the other.” As Appiah underlines, this Faustian statement perfectly epitomizes Du Bois's everlasting feeling of carrying two warring ideals in one dark body: being an American and being black. Lines of Descent, W.E.B. Du Bois and the Emergence of Identity by Kwame Anthony Appiah is an analysis of these two divergent loyalties, Du Bois's love for his oppressed race and his oppressing country, which resulted in a breakup that characterized his whole life and thought
Immaginazione e memoria dopo l'11 settembre. Suoni dal ventre del mostro: il (dis)ordine della Rampart Police e il blues degli Psycho Realm
No full textIl 5 settembre 2010 Manuel Jamines Xum, un immigrato guatemalteco di etnia Maya Quiche e padre di tre figli, è stato ucciso con due colpi di pistola alla testa da un agente di polizia a Los Angeles. L’omicidio è avvenuto a qualche isolato dalla Stazione di Polizia della Comunità Rampart nei distretti di Westlake-Pico Union di Los Angeles.
La morte di Jamines non è un episodio isolato, quanto piuttosto un esempio
del regolare e dilagante uso letale della violenza da parte del LAPD (Dipartimento di Polizia di Los Angeles) nei confronti degli immigrati latinos e delle persone di colore della classe operaia
Hip-Hop Culture Invasion: A Dialogue Between America and Italy
No full text“Rapping is part of the cultural heritage of Black ghetto life. According to Black semantics it not only denotes ordinary conversation, but also defines specific ways of communication. In the 1960s many linguists, sociologists and psychologists conducted thorough research on the behaviour and language-use of ‘ghetto Blacks’” (Remes). In his book Black Popular Music in America, Arnold Shaw reports that rapping has been associated with the hip-hop culture “since the mid Seventies in the United States and that it originated in the South Bronx, New York (...) where hip-hop started as a collective and positive reaction against the spiral of violence of street gangs”. In sociolinguistic studies rapping is described as “fluent, lively speech, highly determined by personal style” (Folb), and rap performances are defined as a “display of complex structures of communication” (Remes).Taking into consideration these definitions, the aim of the present study is to observe in which ways hip-hop as a “language” and, metaphorically speaking, as a “communication vector,” develops in Italy. In order to reflect on these aspects, an overview of the Italian hip-hop scene will be outlined through the analysis of specific songs by Italian MCs
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
- …
